{"id":138,"date":"2014-07-17T11:34:53","date_gmt":"2014-07-17T11:34:53","guid":{"rendered":"http:\/\/www.farimafooladi.com\/main\/?page_id=138"},"modified":"2016-08-16T14:43:21","modified_gmt":"2016-08-16T14:43:21","slug":"critic","status":"publish","type":"page","link":"http:\/\/www.farimafooladi.com\/main\/critic","title":{"rendered":"Critic"},"content":{"rendered":"
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Displacement<\/i><\/b> presents a current and on-going body of mixed media paintings by Farima Fooladi (MFA, 2015) with poetry by Sara Mohammadi Ardehali, curated by Aaron Ziolkowski. Zoller Gallery, Penn State University, 8.15 \u2013 9.02.\u00a0<\/i><\/span><\/p>\n

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Farima Fooladi was born in Tehran, three years after the Iranian Revolution in the midst of an eight year armed conflict with Iraq.\u00a0 Her childhood years witnessed the transition from monarchy to rule by an Islamic republic. She experienced the regime\u2019s enforced social conservativism firsthand as one of twenty million children born in the wake of revolution, part of a state initiated procreation campaign. Such drastic transformations of the government and the makeup of the population were writ large on the built environment as bulldozers razed old structures and replaced them with sheer, monumental faces of reinforced concrete. As a young adult, Farima lived abroad in Brazil and Britain for several years before returning to her family and friends in Tehran.\u00a0<\/span><\/p>\n

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In 2011 Farima spent a period of three months in near isolation alongside her close friend Sara Mohammadi Ardehali at the latter\u2019s vacation home an hour\u2019s drive outside the capital city. Their mornings and afternoons were spent sharing a sun-soaked room that hummed with quiet productivity: one painting, the other writing poetry. The locale offered a time for reflection and observation at a physical and emotional remove from the ever-watchful eyes of family and state. They have maintained a strong friendship despite their geographical distance. Farima was one of many in her social network who subsequently left Iran to settle across the globe. Sara has remained, becoming a successful poet who takes the ever-changing city and its social ramifications as her primary subject matter. Each artist, in their own way, is concerned with the notion of displacement in its many forms. A connection to place remains essential despite its ability to elude description. \u00a0<\/span><\/p>\n

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The built environment, in its resolute tangibility, its pronounced thingness and its tectonic solidity seems to willingly offer itself to focus our personal, emotive idiosyncratic projection. All the more so for its silence. Despite an obsolescence imposed upon it by ever-shifting aesthetic tastes and bureaucratic consensus, architecture has the potential to endure a suprahuman lifespan. As such, it is often asked to bear a collective psychic weight of those who have walked amidst its cast shadows. This burden born becomes inextricably entangled with the visual manifestation of the accrued physical stresses imposed upon it by gravity and meteorological fluctuations. Ever more so when the locus of nostalgic longing is separated by many thousand miles. It is the simultaneous presentness and elusiveness of a homeland\u2019s architecture, which makes it seem fit to anchor the diffuse inarticulable feelings attendant to such dislocation.\u00a0<\/span><\/p>\n

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\u0636\u0631\u0628\u200c\u0622\u0647\u0646\u06af \u062d\u0636\u0648\u0631 \u0627\u06cc\u0631\u0627\u0646 \u062f\u0631 \u0635\u062d\u0646\u0647 \u0647\u0646\u0631 \u062c\u0647\u0627\u0646\u0634\u062f\u062a \u0645\u06cc\u200c\u06af\u06cc\u0631\u062f\/ \u0646\u0645\u0627\u06cc\u0634 \u0622\u062b\u0627\u0631 \u0646\u06af\u0627\u0631\u06af\u0631\u06cc \u062f\u0631 \u0645\u062a\u0631\u0648\u067e\u0648\u0644\u06cc\u062a\u0646 \u0646\u06cc\u0648\u06cc\u0648\u0631\u06a9<\/h1>\n<\/div>\n
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“\u06cc\u0648\u0631\u0634 \u0628\u0627\u0634\u06a9\u0648\u0647” \u0628\u0647 \u067e\u0646\u0633\u06cc\u0644\u0648\u0627\u0646\u06cc\u0627<\/strong><\/p>\n

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\u0627\u0646\u062a\u0647\u0627\u06cc \u067e\u06cc\u0627\u0645\/<\/p>\n

\u0639\u0644\u06cc \u0645\u062c\u062a\u0647\u062f\u0632\u0627\u062f\u0647<\/strong><\/p>\n

http:\/\/www.honaronline.ir\/Pages\/News-55188.aspx<\/p>\n

\u00a0<\/strong><\/p>\n<\/div>\n

<\/div>\n
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\u067e\u0627\u06af\u0631\u062f:<\/p>\n

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Asli Seven:<\/strong><\/p>\n

The Strength of suggestions in Farima Fooladi’s paintings reveal the patriarchal structure of any given society and at the same time ,offer multiple alternative reference points and perspectives on the relationship of objects and images associated with male and female elements.<\/p>\n

Her series of roosters depict various state of this relationship. On her paintings the hairpins, symbolizing the position of women in society, are always confined inside a meticulously drawn area and repeat themselves infinitely while the rooster, symbolizing the patriarchal man is unique and takes space without asking and spreads onto entire canvas, in some of her paintings the shadow of the distantbeloved man falls on a letter of love while in some others, the imposing presence of the male figure is in contrast with the fragility of the female words.<\/p>\n

Summer 2011,Turkey<\/p>\n

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\u0628\u0631\u06af\u0631\u062f\u0627\u0646 \u0628\u0647 \u0641\u0627\u0631\u0633\u06cc<\/p>\n

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\u0645\u062c\u0645\u0648\u0639\u06c0 \u062e\u0631\u0648\u0633 \u0647\u0627 \u062d\u0627\u0644\u062a \u0647\u0627\u06cc \u06af\u0648\u0646\u0647 \u06af\u0648\u0646\u06cc \u0627\u0632 \u0627\u06cc\u0646 \u0627\u0631\u062a\u0628\u0627\u0637 \u0631\u0627 \u0628\u0647 \u062a\u0635\u0648\u06cc\u0631 \u0645\u06cc \u06a9\u0634\u062f.\u062f\u0631 \u0627\u06cc\u0646 \u0622\u062b\u0627\u0631 \u0633\u0646\u062c\u0627\u0642 \u0647\u0627\u06cc \u0645\u0648 \u06a9\u0647 \u0646\u0645\u0627\u062f \u062c\u0627\u06cc\u06af\u0627\u0647 \u0632\u0646 \u062f\u0631 \u062c\u0627\u0645\u0639\u0647 \u0647\u0633\u062a\u0646\u062f\u060c\u0647\u0645\u06cc\u0634\u0647 \u0628\u0627 \u062f\u0642\u062a \u0628\u0633\u06cc\u0627\u0631 \u062f\u0631 \u0641\u0636\u0627\u06cc\u06cc \u0628\u0633\u062a\u0647 \u0645\u062d\u062f\u0648\u062f \u0648 \u06a9\u0634\u06cc\u062f\u0647 \u0634\u062f\u0647 \u0627\u0646\u062f \u0648 \u062e\u0648\u062f \u0631\u0627 \u0628\u0627\u0631\u0647\u0627 \u0628\u0627\u0631\u0647\u0627 \u062a\u06a9\u0631\u0627\u0631 \u0645\u06cc \u06a9\u0646\u0646\u062f\u060c \u062f\u0631 \u0635\u0648\u0631\u062a\u06cc\u06a9\u0647 \u062e\u0631\u0648\u0633 \u060c \u0646\u0645\u0627\u062f \u0645\u0631\u062f \u0633\u0627\u0644\u0627\u0631\u06cc\u060c \u06cc\u06a9\u0647 \u0648 \u062a\u0646\u0647\u0627 \u0641\u0627\u0631\u063a \u0627\u0632 \u0647\u0631 \u0645\u062d\u062f\u0648\u062f\u06cc\u062a\u06cc \u062d\u0636\u0648\u0631\u0634 \u0631\u0627 \u0628\u0631 \u0633\u0631\u062a\u0627 \u0633\u0631 \u0627\u062b\u0631 \u0645\u06cc \u06af\u0633\u062a\u0631\u0627\u0646\u062f.<\/p>\n

\u062f\u0631 \u0628\u0631\u062e\u06cc \u0627\u0632 \u0622\u062b\u0627\u0631 \u0641\u0631\u06cc\u0645\u0627 \u0645\u0631\u062f \u0645\u062d\u0628\u0648\u0628\u06cc \u06a9\u0647 \u062f\u0631 \u062f\u0648\u0631\u0647\u0627 \u0627\u06cc\u0633\u062a\u0627\u062f\u0647 \u0628\u0631 \u0631\u0648\u06cc \u0646\u0627\u0645\u0647 \u0639\u0627\u0634\u0642\u0627\u0646\u0647 \u0627\u06cc \u0633\u0627\u06cc\u0647 \u0645\u06cc \u0627\u0641\u06a9\u0646\u062f \u062f\u0631 \u062d\u0627\u0644\u06cc \u06a9\u0647 \u062f\u0631 \u0628\u0631\u062e\u06cc \u062f\u06cc\u06af\u0631 \u0627\u0632 \u0622\u062b\u0627\u0631 \u0627\u0648 \u062d\u0636\u0648\u0631 \u0633\u0646\u06af\u06cc\u0646 \u062c\u0646\u0633 \u0645\u0631\u062f\u0627\u0646\u0647 \u062f\u0631 \u06af\u0648\u0646\u0647 \u0627\u06cc \u062a\u0636\u0627\u062f \u0628\u0627 \u0634\u06a9\u0646\u0646\u062f\u06af\u06cc \u0646\u0647\u0641\u062a\u0647 \u062f\u0631 \u0648\u0627\u0698\u0647 \u0647\u0627\u06cc \u0632\u0646\u0627\u0646\u0647 \u0627\u06cc\u0633\u062a \u06a9\u0647 \u0622\u0646 \u0631\u0627 \u062f\u0631 \u0628\u0631 \u06af\u0631\u0641\u062a\u0647 \u0627\u0633\u062a.<\/p>\n

\u0627\u0635\u0644\u06cc \u0633\u0648\u0646<\/p>\n

\u062a\u0627\u0628\u0633\u062a\u0627\u0646 2011 – \u062a\u0631\u06a9\u06cc\u0647<\/p>\n","protected":false},"excerpt":{"rendered":"

Displacement presents a current and on-going body of mixed media paintings by Farima Fooladi (MFA, 2015) with poetry by Sara Mohammadi Ardehali, curated by Aaron Ziolkowski. Zoller Gallery, Penn State University, 8.15 \u2013 9.02.\u00a0 Farima Fooladi was born in Tehran, three years after the Iranian Revolution in the midst of an eight year armed conflict […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":60,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"http:\/\/www.farimafooladi.com\/main\/wp-json\/wp\/v2\/pages\/138"}],"collection":[{"href":"http:\/\/www.farimafooladi.com\/main\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.farimafooladi.com\/main\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.farimafooladi.com\/main\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.farimafooladi.com\/main\/wp-json\/wp\/v2\/comments?post=138"}],"version-history":[{"count":4,"href":"http:\/\/www.farimafooladi.com\/main\/wp-json\/wp\/v2\/pages\/138\/revisions"}],"predecessor-version":[{"id":337,"href":"http:\/\/www.farimafooladi.com\/main\/wp-json\/wp\/v2\/pages\/138\/revisions\/337"}],"wp:attachment":[{"href":"http:\/\/www.farimafooladi.com\/main\/wp-json\/wp\/v2\/media?parent=138"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}